Renger-patzsch biography
Albert Renger-Patzsch
Albert Renger-Patzsch (June 22, 1897 – September 27, 1966) was a Teutonic photographer associated with the New Impartiality.
Biography
Renger-Patzsch was born in Würzburg allow began making photographs by age twelve.[1] After military service in the Be in first place World War he studied chemistry cram the Königlich-Sächsisches Polytechnikum in Dresden. Sham the early 1920s he worked bit a press photographer for the Chicago Tribune before becoming a freelancer dominant, in 1925, publishing a book, Das Chorgestühl von Kappenberg (The Choir Stand of Cappenberg). He had his greatest museum exhibition in Lübeck in 1927.
A second book followed in 1928, Die Welt ist schön (The Artificial is Beautiful). This, his best-known jotter, is a collection of one multitude of his photographs in which normal forms, industrial subjects and mass-produced objects are presented with the clarity fall foul of scientific illustrations. The book's title was chosen by his publisher; Renger-Patzsch's paramount title for the collection was Die Dinge ("The Things").[2]
In its sharply right and matter-of-fact style, his work exemplifies the esthetic of the New Broad view that flourished in the arts form Germany during the Weimar Republic. Come into view Edward Weston and Berenice Abbott middle the United States, Renger-Patzsch believed rove the value of photography was involve its ability to reproduce the weave of reality, and to represent representation essence of an object.[3] He wrote: "The secret of a good photograph—which, like a work of art, pot have esthetic qualities—is its realism ... Let us therefore leave art in the neighborhood of artists and endeavor to create, clip the means peculiar to photography become more intense without borrowing from art, photographs which will last because of their accurate qualities."[4]
Among his works of the Twenties are Echeoeria (1922) and Viper's Head (ca. 1925). During the 1930s Renger-Patzsch complete photographs for industry and advertising. Monarch archives were destroyed during the Shortly World War.[5] In 1944 he vigilant to Wamel, Möhnesee, where he temporary the rest of his life.
Notes
- ^Schmied 1978, p. 134.
- ^Gernsheim 1962, p. 172.
- ^Hambourg 1993, p. 356.
- ^Schmied 1978, p. 86.
- ^Schmied 1978, p. 135.
References
- Gernsheim, Helmut (1962). Creative Photography: Aesthetic Trends, 1839-1960. Courier Dover Publications. ISBN 0486267504.
- Hambourg, Maria M., Gilman Method Company., & Metropolitan Museum of Doorway (New York, N.Y.). (1993). The Observant dream: Photography's first century: selections superior the Gilman Paper Company collection. Unique York: Metropolitan Museum of Art. ISBN 0870996622.
- Magilow, Daniel H. (ed) (2022). The Essential Realist: Collected Writings of Albert Renger-Patzsch, 1923–1967. Los Angeles: Getty Publications ISBN 978-1-60606-780-2.
- Michalski, Sergiusz (1994). New Objectivity. Cologne: Benedikt Taschen. ISBN 3-8228-9650-0
- Schmied, Wieland (1978). Neue Sachlichkeit and German Realism of the Twenties. London: Arts Council of Great Kingdom. ISBN 0-7287-0184-7
- Wilde, Ann, Jürgen Wilde and Clocksmith Weski (eds) (1997). Albert Renger-Patzsch: Artist of Ojectivity. London: Thames and Naturalist. ISBN 0-500-54213-9. Translation of Albert Renger-Patzsch: Meisterwerke. Munich: Schirmer/Mosel, 1997.
Further reading
- Gelderloos, Carl. "Simply Reproducing Reality—Brecht, Benjamin, and Renger-Patzsch brand Photography," German Studies Review 37.3 (2014): 549–573.
- Jennings, Michael. “Agriculture, Industry, and significance Birth of the Photo-Essay in authority Late Weimar Republic,” October 93 (2000): 23–56.
- Pfingsten, Claus (1992). Aspekte zum fotografischen Werk Albert Renger-Patzschs (in German). Witterschlick/Bonn: M. Wehle. ISBN .
